[...] By repeatedly resuming the discussion in different ways, the artist has acquired a great mastery of the diversity of possible variations on the same theme. Towards the end of the seventies, he builds trestle elements that open in various directions, the tracks of which are even thinner than in the past in order to limit the anamorphic effects,  and the former gentle unions are banned in favor of more angular movements; the breath of the image, however, that is formed in the mind of the viewer in a game of mental continuation of the trajectories, remains very dilated: in Verona, as part of the exhibition 'Il Luogo della Forma' - "The Place of Form, held in the outdoor spaces of Castelvecchio in September of 1981, as in other earlier occasions, the subtle metallic structure has the "authority of a monument"..

With this constant meditation on the meaning of one's own personal search when confronted with the stimuli and fluctuating pressures that come from the outside - on the one hand, art as perceptual and intellectual solicitation, on the other hand, art as liberation of the unspeakable and not to be theorized - Antico now has a secure operating experience behind him. Open issues can be perceived in the latest production; it appears clear that he does not intend to fail in principle according to which the artistic activity provides structural and formal guidance: not just the sensitive response to the emotions, but the search for Arianna's thread, not chaos, but choice.

Rossana Bossaglia
1982